Independent Textual Analysis

Soap Opera Genre –
Independent Textual
Analysis
Name: Leeza Ah-wan
Candidate Number: 6593
Center Name: St. Paul’s Catholic College
Center Number: 64770
OCR Media Studies – A2 Level
Unit G324: Advanced Portfolio

Trailer 1 –Eastenders Trailer
https://www.youtube.com/watch?v=8p4xlLezos0
Verbal Codes – Comment on the use of Dialogue, Voiceover, Sound Effects or Soundtrack
The ambient sound of Kat’s cowboy boots tapping against the ground as she arrives on the square ‘signifies’ (De Saussure) that she is a
powerful character who is about to create chaos. As her footsteps are the only thing that can be heard on the square she is represented
as an ‘alpha female’ who is strong and dominant. Her confident persona is likely to appeal to ‘middle class females’ (Hartley) that are
‘social climbers’ (Maslow). Despite Kat not being the richest women in the square, it’s clear to see the residents fear her, thus, she
would appeal to women who feel either outcasted in their community or insignificant. The cowboy boots themselves which are
examples of non verbal codes emphasize that she is up for a battle and is not someone to mess with. She is not your stereotypical ‘girly’
‘princess’ (Propp) but instead a “strong woman” (Rebecca Feasey). The non diegetic incidental western music used shortly after her
arrival, also connotes some sort of battle is about to unfold and it seems as if a stand off is about to occur between Kat and another
character. The ambient sound of Janine’s laugh is cut short as she realizes Kat’s presence resulting in both her and Pat’s facial
expressions (non verbal code) being masked by fear. Viewers who are familiar with Eastenders will know that Janine herself is a
frightening, feisty character. The fact that the presence of Kat affects her so profoundly acts as an ‘enigma clue’ (Roland Barthes) that
there is a reason to fear Kat. Her character is on a mission and no one should stand in her way. The diegetic verbal code “where do you
get a drink round here?” said by Kat represents her character in a realistic light. Kat is a regular client at the Queen Vic and most viewers
will know that she loves a drink and having a good time. She is a confident character who means business. The non-diegetic voiceover
saying “It’s all kicking off in the square” ‘signifies’ (De Saussure) that Kat and Alfie are about to unleash havoc in the square as they settle
their differences. This would appeal to ‘survivors’ (Maslow) as they want the security of knowing that these two characters will be able
to survive this argument and possibly get their marriage back on track.

Non-Verbal Codes – Comment on the use of Setting, Lighting, Costumes, Facial
Expressions and Characters The non verbal code of the rustled up newspaper moving across the street in the wind
‘signifies’ (De Saussure) that something big is about to take place. The newspaper symbolizes the ‘quiet before the storm’. Viewers who
watch Eastenders regularly will be familiar that the square is always busy. The residents are always arguing about something and the
markets are always up with the locals trying to sell their goods. Thus, the emptiness signifies a ‘disequilibrium’ (Todorov). The arrival of
Kat then ‘signifies’ (De Saussure) that she is the reason for the disruption of normality. Cuts (technical code) are used throughout the
trailer to denote the shocked facial reactions of the residents, ultimately presenting Kat as a fearful women who should not be messed
with. Furthermore, low key lighting is used as Alfie emerges from the shadows. This type of lighting has been used to connote that Alfie
brings a sense of ‘darkness’ to Kat’s world and conflict between them is about unfold. The dystopian setting used in accordance with the
incidental western music (verbal code) denote a tense atmosphere and viewers get the feeling that a stand off is about to occur. Most
people familiar with this soap will know that Kat and Alfie are lovers. The uneasy and tense atmosphere created connotes that they have
cracks in their relationship at the minute and it’s now time for them to deal with these issues. Thus, through the use of non verbal
codes, viewers of the trailer are “informed” (Katz) that if they want to see the explosive reunion between Kat and Alfie, they need to
tune in to Eastenders next week. As well as Kat wearing black, so is Alfie. He also has a toothpick in his mouth, mirroring the image of a
cowboy. His black cowboy costume and serious facial expression connotes that Alfie will also bring power to this fight as he has a lot to
say to Kat. This is connoted through the diegetic verbal code “I think you’re gonna need one” said by Alfie to Kat after she asks where
she can get a drink. It seems he is implying Kat will need a drink because this battle is going to be a tough one and many harsh words
will be exchanged. However, the costumes of both characters also create humor as most people will be aware that the characters have
no sort of western roots at all. The costumes are merely used to ‘signify’ (De Saussure) that drama is about to unfold. Viewers who have
a “personal relationship” (Katz) with either of the two characters will be persuaded to tune in for the upcoming episodes so they can see
the fate of their favorite character. As Kat drops her leopard print handbag viewers are reminded about her character. She is a working
class mother, who suffers financially and often dresses in a ‘cheap’ manner. The leopard bag is chavy and nothing more than we would
expect from her character, due to her cheap lifestyle.

Camerawork–
The establishing shot of the Queen Vic at the very beginning of the trailer denotes that something chaotic has happened in the square,
or is about to. The Queen Vic is the famous pub of Albert Square so the fact it’s burnt down means something tragic has taken place or
is about to. The Queen Vic was previously owned by Kat and Alfie. The later standoff between the two characters helps to explain why
an establishing shot was used at the beginning of the trailer. Perhaps the Vic is burnt and black as it’s symbolizing their old life. Clearly,
something has happened between the two lovers due to the serious atmosphere. Their old life is ‘ruined’ and they have a battle to fight
if their relationship is going to survive. A tracking shot is then used to follow Kat’s movements as she walks along the square. This
connotes that she is dominant, strong and has a lot of authority because her presence is clearly important. The technical code of a tilt
shot is used as the camera moves from Kat’s feet to her face. A tilt shot has been used so the costume of the alpha female is denoted.
Her full black costume (non verbal) connotes a darkness within her, perhaps she is angry and Alfie will evidently be the recipient of her
wrath. In parallel, a tilt shot has also been used to denote Kat’s confident body position, (non verbal code) she seems to not be phased
by any of the other residents, in the way they show uneasiness towards her. A close up shot is used as Kat looks at herself in a handheld
mirror. Through this technical code, some viewers of the trailer who may not be that familiar with Kat’s character will be “informed”
(Katz) that she cares quite a lot about her appearance. In the majority of episodes, she is seen wearing lots of makeup and short
dresses, arguably providing a “male gaze” (Laura Mulvey). The close up shot of Alfie has been used to denote his confident facial
expression. Through the use of this technical code he is presented just as powerful and strong as his lover. Shot reverse shots have then
been used as they stare at each other during the standoff, increasing the tension. The extreme close up shot of the eyes of both
characters, denote that they both mean business and are ready for this battle that is about to unfold.

Trailer 2 – Coronation Street Trailer
https://www.youtube.com/watch?v=p6eZy6G8wTw
The non diegetic incidental music of the piano being played in the background whilst the residents’ problems are revealed connotes a
depressing and gloomy atmosphere. Through the use of this verbal code, straight away viewers become aware that there is a
‘disequilibrium’ (Todorov) as many of the characters are either facing a battle or are troubled. The volume of the music gets louder and
louder as the trailer goes on, as the tension increases and the worry of viewers grow, as more and more problems are revealed. This
instrumental piece of music has been chosen on purpose to connote the feelings of many of the characters. The diegetic verbal code
“What if I never walk again” said by the female to Chesney denotes that the character is petrified at the prospect of being paralyzed.
“Caregivers” (Maslow) will feel extremely sorry for this character as her future currently looks very bleak and frightening. This particular
storyline would appeal to “survivors” (Maslow). Viewers of the trailer will tune into Coronation Street as they want the security of
knowing that the surgery will be successful and the character will make a healthy recovery. “Survivors” will be hopeful not only for her
sake, but for the other characters that care for her too, such as Chesney who looks extremely worried which is denoted through his
troubled facial expression (non verbal code). The ambient sound of her monitor ticking ‘signifies’ (De Saussure) that her battle to walk
again is against the clock and if this surgery is unsuccessful it’s very likely that there is no more she can do but accept her fate. The
diegetic verbal code “I’ve got this thing called depression” is said by Steve to his daughter. The incidental music itself ‘signifies’ (De
Saussure) how melancholy and unhappy he feels. This verbal code will appeal to viewers who can “personally identify” (Katz) with
Steve’s situation. Perhaps some viewers will have also battled depression and therefore, sympathies with Steve for his terrible situation.
As well as this storyline, there are other storylines within this multi-stranded narrative trailer that provide a “window into the world”
(Wendy Helsby).
A close up shot (technical code) of the pregnancy test is followed by the diegetic verbal code “This can’t be happening” said by Faye, as
she discovers that she is pregnant. Coronation Street is therefore a prime example of a soap that produce storylines that reflects the
zeitgeist, as teenage pregnancy is a major issue in modern society. According to Katz a storyline like this would appeal to those that
want to be “informed and educated” (Katz). Through seeing the turn Faye’s life now takes, viewers will learn about not only the
difficulties of parenting but also the impact that underage pregnancy can have on both a teenage girls school and home life. Some
‘female’ (Hartley) teenagers will regularly watch Coronation Street and perhaps by seeing the trouble Faye has got herself into, they will
think more carefully about the decisions they make after watching the show.

Expressions and Characters The non verbal code of the ident ‘ITV’ at the beginning of the trailer is a generic convention
that is frequently “repeated” (Neale) in order to “inform” (Katz) viewers of the channel on which the show plays on. This is important as
people who have never watched Coronation Street before, but are interested in one of the storylines in the trailer, will instantly know
where they can watch the show. A dystopian setting is used as Faye explains to Craig the reasons why she doesn’t want to go back to
school. The use of low key lighting connotes the ‘darkness’ that Faye’s life is currently filled with as she is being bullied and teased at
school because of her weight. Through seeing her dressed in her school uniform many “caregivers” (Maslow) will sympathies for Faye
because of the abuse she is receiving. We are reminded she is still a little girl and is sensitive and fragile. Viewers will also feel quite
repulsed at the way society is. Faye’s storyline provides a “window into the world” (Wendy Helsby) as many teenage girls suffer abuse at
school because of the way they look. This storyline reflects the zeitgeist and will possibly appeal to ‘female’ (Hartley) teenagers also
struggling with criticism at school and as a result have low self confidence and feel very little self worth. Thus, those that can “personally
identify” (Katz) are likely to tune into Coronation Street, as seeing someone else in the same situation, will give them reassurance that
they’re not alone, as other teenage girls face the same problems too. A zoom (technical code) is used to denote Faye’s troubled and
anxious facial expression as she doesn’t know what to do anymore. The dystopian setting is particularly effective as Steve’s depression
storyline is revealed. The lighting becomes harsher and darker at this point connoting how he’s in a state of despair and sees no light or
hope in his life anymore. The diegetic verbal code “Lady Gaga’s got depression” is said by his daughter, in response to her fathers
revelation. Steve’s shocked facial expression in response denotes that he doesn’t want to hurt his daughters feelings. He plays along
with it as he’s a typical male who doesn’t want to show his weakness. Thus, portraying him as a caring and sensitive father.
The costumes of the characters reveal a lot about them to viewers who might not be that familiar with the show. The wide shot
(technical code) of Jenny Bradley denotes that she is a stereotypical seductive female. She is dressed in a seductive red dress with red
lipstick and has blonde hair. She is denoted as being a confident lady through her body language, as her arm is placed on her hip, and
she leans back onto the bar whilst a smitten Kevin addresses her. Not only does she provides a “male gaze” (Laura Mulvey) to the
audience through being sexualized, but we can see that she is a dominant lady who has the power to create trouble and drama. This
point is then emphasized as she says the diegetic verbal code “How do you fancy sharing a pudding?” as she tries to seduce Kevin. An
over the shoulder shot (technical code) is used as the diegetic verbal code “I’m your mum Katy” is said, the facial expression of Katy as
she discovers the truth denotes she cannot believe this revelation. She laughs it off ‘signifying’ (De Saussure) that she doesn’t know
what to believe anymore.

Camerawork–
The close up shot of the female character at the beginning of the trailer connotes how fragile she is and incapable because of her
accident. Her head is wrapped up in a red support denoting how critical her situation is and her vulnerability. “Caregivers” (Maslow) will
sympathize for the character as her fate in uncertain and she may end up paralyzed. As the close up captures her distressed facial
expression (non verbal), the worry that “caregivers” have will be enhanced, as it doesn’t look like she has the strength to deal with the
worst case scenario outcome. A two person shot is used as Faye and Craig talk about Faye’s experiences of being picked on at school.
This technical code acts as an ‘enigma clue’ (Roland Barthes) that the character of Craig will play a vital role in Faye’s upcoming storyline.
As she breaks down into tears, it is denoted that the two characters share a strong bond of friendship, and evidently she will need him
for what’s about to come, now that her whole world is about to change.
The low angle shot used as David is confronted, connotes him as weak and out of his depth. Viewers who regularly watch the soap will
know that David is quite a cocky and confident male. Thus, for him to be perceived in such a small and defenseless light we can see that
he truly is in a bad situation. Through Coronation Street providing viewers with a “difference” (Neale) in the representation of David, it’s
likely more people will be intrigued to watch the journey his character is about to go on, as they’ll see his character in a different way
than ever before. The mid shot used as Jason enters the Rovers Return Inn denotes how his mood quickly changes from perfectly fine, to
shocked and annoyed, after hearing his girlfriend reveal that she is about to lie to him. It’s clearly denoted that he is not only shocked,
but concerned about why his girlfriend is about to lie, especially as another man is involved. This creates a tense atmosphere as further
cracks form in their relationship, as Jason now knows of his girlfriends deceit but is unaware of her motives.
Shot reverse shots are used during the confrontation between David and the other male figure as they fight over Max. Shot reverse
shots are used to ‘signify’ (De Saussure) that both men are putting up a fight for Max and so David faces a battle, if he is to get his son
back. The close up shots used during this scene also reveal David’s desperation, which is denoted through his disheartened facial
expression (non verbal). It’s denoted that he really does care for Max and truly does want him back. Therefore, anticipation is created
for viewers as we await to see if this will be the case, or will his world come crashing down?
Editing - Fades are used during this trailer as one scene cuts to another. This editing technique has been used to connote that there are
currently many issues that the residents of Coronation Street face and a lot of drama is about to unfold. It also provides an ‘enigma clue’
(Roland Barthes) that the future of all these characters are ‘black’ as they are uncertain. The only way we can find out what happens to
them is if we tune in.

Trailer 3 – Coronation Street
https://www.youtube.com/watch?v=UcVoNEhhICU
The non diegetic incidental music is uplifting and soulful. This denotes a lighthearted and happy atmosphere as the residents of
Coronation Street embark on their daily activities. The residents seem happy and joyful which is denoted through their large smiles and
as they engage in laughter (non verbal codes). At first the incidental music seems to fit the scene because of the overall positivity.
However, the ambient sound of the ambulance sirens ‘signifies’ (De Saussure) a ‘disequilibrium’ (Todorov). Viewers will be shocked at
the sudden change in mood. All of a sudden we get the impression that the residents will no longer be the happy and joyful bunch they
are now, as soon tragedy will hit them. As the ambient sound fades in and out due to the cuts (technical code) used, further anticipation
is created. A real sense of tension is created because it is denoted that the residents are about to receive a massive shock but we don’t
know why. At the end of the trailer the incidental music stops and all that can be heard is the ambient sound of the ambulances. This
used in accordance with the text “Four funerals and a wedding” (non verbal code) will strongly appeal to “caregivers” (Maslow).
“Caregivers” will tune into Coronation Street as it’s clear to see that death is about to hit the street and they will sympathies with the
residents for the loss they are about to suffer.
Expressions and Characters
At the beginning of the trailer high key lighting is used connoting positivity and love within the street. This lighting also ‘signifies’ (De
Saussure) how the residents are feeling at that present moment in time. They are full of life and look hopeful for the future: Tina is in
love, Sophie and Sian are in love and Hayley seems to be in high spirits. This utopian setting creates a sense of comfort in viewers as it
looks as if all the residents are happy and at ease for once. Although we all face troubles in life, the beginning of the trailer certainly
does provide a “window into the world” (Wendy Helsby). Often soaps exaggerate unhappiness, many of us do go by our day to lives and
are perfectly happy. However, the cuts (technical code) to the ambulance scenes completely undermine this tone. Low key lighting is
used, the use of dark colours connoting danger and some sort of accident. The characters chosen for this trailer are also of great
importance when analyzing the clip. Sophie and Sian are a couple, Roy and Hayley are married, Leanne, Peter and Simon are a family
and many other couples feature throughout. Therefore, an ‘enigma clue’ (Roland Barthes) is provided to the audience that this
traumatic event that is about to occur, has the possibility to destroy both the families and lovers of Coronation Street. Initially, Leanne
has a smile on her face as she steps outside her apartment with Simon and Peter onto the street. However, her smile quickly fades at
the sight of Nick. Similarly, Nick is affected by Leanne’s presence and his facial expression is denoted as shocked, as he puts his phone
down. Hence, both of their facial expressions ‘signify’ (De Saussure) that this normality is about to be disrupted.

Camerawork– The long shot of Hayley captures her getting off a bus, this denotes that her and Roy have been on some sort of
trip. A zoom followed by a close up is then used as it’s denoted she has purchased a teddy bear. This reveals a lot about Hayley’s
character to viewers who may be unfamiliar with the soap. She is not a serious women, but enjoys a good laugh and has a sense of
humor, as she makes a joke with the teddy bear. A close up shot used on Roy denotes his smile, although it looks forced and not as
natural as Hayley’s laugh ‘signifying’ (De Saussure) that he’s quite a serious character in contrast to his wife. Although, it also connotes
the possibility of a ‘disequilibrium’ (Todorov) as he is not completely at ease, but at this point we are unsure why. The long shot at the
beginning was also used to denote the sun and brightness of the setting, initially connoting a positive atmosphere. A medium close up is
used as Tina and Graeme engage in a kiss. Graeme is focused on in particular and his smitten facial expression (non verbal code)
denotes that he is madly attracted to his girlfriend. Those who have a “personal relationship” (Katz) with either Tina or Graeme will be
shocked by the end of the trailer at the possibility that either of these two characters could end up dead in this fatal crash. Ultimately,
creating suspense and wonder. A crane shot is used at the end of the trailer moving from Dev and Sunita embracing each other and
kissing, to the bridge over the street. Through the use of this technical code it is ‘signified’ (De Saussure) that this is where the accident
will happen and that the accident is a crash of some sort.
Trailer 3 – Coronation Street
https://www.youtube.com/watch?v=UcVoNEhhICU

Trailer 4 - Past Exemplar Trailer
https://www.youtube.com/watch?v=zB9EYlbnquk
The non diegetic incidental music has a rock element to it creating suspense due to its stereotypical connotation of anger. Straight away,
the symbolism indicates that this is going to be a dark trailer and a “disequilibrium” (Todorov) will evidently be presented. The music is
faint whilst the ident BBC2 is being shown, however it becomes significantly louder as the scene inside the pub begins. Parallel sound
has been used to ‘signify’ (De Saussure) that the meeting between the two characters in the pub is important, creating tension as
viewers are unaware why. Parallel sound is also used as the car door closes in accordance with the incidental music. This is effective as
horror and shock is created as the two girls dump the boy in the back seat of the car on their way to bury him. Both females are
examples of “strong women” (Rebecca Feasey) and challenge stereotypes such as “men act, woman appear” (John Berger). Both
females are presented as dominant, alpha females. The male is naive enough to believe he can hide the truth from both girls. However,
one of them ‘outsmarts’ the guy by spiking his drink, whilst the other girl helps her in getting rid of the body. It’s denoted that the two
girls are stronger and smarter than the boy in this particular situation. The diegetic sound of heavy breathing made by the male
protagonist at the end of the trailer as he wakes up buried alive, will cause viewers to be filled with wonder and curiosity about whether
he will be saved or whether he will die. As it ends in such a dramatic way, viewers feel compelled as if tuning into ‘The Ridings’ is
something they must do. The non diegetic voice over “The Ridings on BBC2 and BBC2 HD” “informs” (Katz) viewers where they can
watch this soap, which is important as the soap is new and un-established. The voiceover is important because through denoting its
airing channel is BBC2, viewers can learn a bit more about the soap, in terms of its values to “inform, educate and entertain” (John
Reith) due to BBC being its home.

The slogan at the beginning of the trailer: “Original British Soap” has been included to provide a “difference” (Neale) from typical soap
trailers. Often any written text that features in a trailer is only a very short sentence relating to the storyline (e.g.: ‘four weddings and a
funeral’ from the Coronation Street trailer). You don’t tend to see slogans very often. However, providing “difference” (Neale) is
important in order to capture the largest demographic possible and is particularly useful in this instance, as the soap is new and a slogan
like this will make the show sound unmissable to viewers. From the outset of the trailer, a dystopian setting is used as well as low key
lighting. The street is denoted as cold, wet and murky ‘signifying’ (De Saussure) something dreadful or horrific is about to happen.
Despite this, the male protagonist is denoted as perfectly fine in the pub as he talks to his girlfriend although, this quickly changes as he
drinks the spiked drink and is knocked out. This straight away denotes a “disequilibrium” (Todorov). As the two girls drag his passed out
body into the vehicle, their facial expressions are extremely serious and they show almost no sense of emotion, denoting that any
feelings either one of them had for this boy is now gone and they despise every bit of him. In the flashbacks revealing how the truth was
revealed, the first girl in the trailer is happily smiling whilst talking on the phone. Similarly, the other girl has a happy facial expression as
she walks hand in hand with her boyfriend. However, when the two girls meet their faces are suddenly filled with anguish and they are
horrified at the deceit before them. Their angry facial expressions denote that they are horrified at his deceit and have lost all respect
for him. As the male protagonist wakes up in the dark, his eyes search around frantically and his face looks tight as he is scared and
confused. His character has now changed from a confident boy to a scared one who’s in despair for help. The setting of a graveyard has
many connotations such as sacrifice, death and emptiness. The empty graveyard acts as an ‘enigma clue’ (Roland Barthes) that the girls
have been vengefully planning his death and how to make him suffer, creating suspense that will certainly provide viewers with a form
of “diversion” (Katz). The ident BBC2HD is shown constantly throughout the trailer. This has been “repeated” (Neale) in order to attract
the wide loyal BBC fan base.

Camerawork–
At the beginning of the trailer, an establishing shot is used of the pub. This connotes it is of central importance. We quickly discover the
reason for this is because it’s where the girls plan begins to unfold. The two person shot denotes that the two individuals may be on a
date. However, any thoughts of romance the viewer may have is completely dismissed after seeing the agenda of the girl is to inflict
harm. A close up shot is used whilst the male protagonist holds the glass in his hand. Through observing the position of the glass most
viewers will be aware that at any point the glass is about to fall or spill. Although, there is an element of shock created when an extreme
close up is used to denote his finger moving in a lifeless way. It is denoted that something very extreme and drastic has taken place as
she has spiked his drink. A mid shot is used denoting the girl and boy from the pub engaging in a kiss in a flashback, ‘signifying’ (De
Saussure) that they have a strong attraction and intimate past. However, a cut (technical code) is then used to denote that the male is in
fact a cheater, as the head on shot of him and another girl denotes them walking in a park hand in hand. As viewers are now aware of
his deceit, a sense of excitement is created as they know a lot of drama is about to unfold and this is what they expect from a soap
opera. The tracking shot used as the male and one of the girls walk along hand in hand, is effective through creating suspense as viewers
know they are about to bump into the other female, and the male will be exposed. After this argument, the scene cuts (technical code)
to the cemetery where a pan is used to denote the gothic setting and graves. I believe they used a pan to denote how abandoned the
setting is. There’s a clear sense that the two females want no one to find their victim as they want him out of their lives for good. Lastly,
the close up shot of the male looking frantic and panicked may evoke feelings of sympathy on behalf of “caregivers” (Maslow) as despite
him being a cheat, he’s been put in a extremely scary situation.

Trailer 5 - Skins Trailer
https://www.youtube.com/watch?v=ToKa4dTAqE4
The non diegetic incidental music denotes the lyrics “Now I’m ready to start” this connotes that the characters will truly reveal
themselves in series 5. Perhaps in the previous seasons, drama has unfolded or secrets have been discovered and in this season the
reactions of characters are truly explored. In other words, the characters are “ready to start” as they are about to kick off and unleash
their anger and pain. Also, as the trailer is for series 5, it could be that in the previous seasons, viewers have perceived what the
characters are like in one light, but in this series this representation is challenged. It may be that characters who viewers perceived as
innocent will now unleash their dark side or characters viewers perceived as troubled will do something unexpectedly moral. Either way,
there is an ‘enigma clue’ (Roland Barthes) provided that the true identity of characters will be revealed.
The soundtrack has a rock element to it and the beat of the music gets faster and faster as the characters spiral down into darkness . As
the beat gets increasingly faster, tension is created as it looks as if the characters are about to reach the bottom of this darkness and hit
the surface. We are unaware of their fate which ultimately creates anticipation. The idea of the characters falling down into an unknown
area ‘signifies’ (De Saussure) that the fate of the characters are unclear. To find out what their future holds, we have no choice but to
tune into series 5 of Skins. The soundtrack used in this trailer, is sung by the alternative band Arcade Fire. The connotations of the non
diegetic incidental music is therefore important as it ‘signifies’ (De Saussure) the type of demographic that would watch this show. Skins
is aimed at both ‘male’ and ‘female’ (Hartley) 16-20 year olds, which is the type of demographic Arcade Fire also produce music for.
The non diegetic voice over “Skins the brand new series coming soon on E4” “informs” (Katz) viewers of the channel the soap will air on
and why it’s being promoted (“brand new series”). This verbal code is important in order to create excitement in fans even before the
first episode debuts. Through creating excitement and hype, Skins will gain a larger viewership and will continue to succeed in being a
successful teen drama. The voiceover also sounds serious, connoting the trailers dark and gloomy mood.

Costume is used effectively to impact the audience. All the characters are naked at the beginning of the trailer. This representation
connotes the title of the programme (‘Skins’). As the characters start to spiral down into darkness, they begin to become clothed. This is
a key example of symbolism. The characters are naked at the beginning of the trailer which possibly connotes their innocence. However,
them becoming clothed symbolizes that any sense of innocence is vanishing or has left them. Regular viewers of Skins will be aware that
the characters are often involved in trouble and scandals. They create a great deal of drama and are often involved in negative
situations. The use of symbolism connotes to the audience that it’s likely series 5 will follow the same root. The characters have not
changed but will still create problems for each other and drama. The characters becoming ‘clothed’ may also symbolize the transition
and journey the characters have experienced going from series 1 to series 5. Perhaps over the years, as time has passed more and more
of their innocence has left them as they have grown up. The non verbal code of the characters facial expressions denote their fear. This
will create suspense in viewers as we begin to question: what do they have to fear and why? In other words, what explosive drama will
series 5 be packed with? The fear on their faces also possibly connotes the pressures and fears of growing up and becoming older. The
characters are all young adults in order for their intended target audience to “personally identify” (Katz) with them and the situations
they find themselves in. As the characters are still at a young age, they themselves are still maturing and so their storylines will reflect
the struggle and issues associated with growing up. Perhaps, in series 5 many of these storylines will be explored which would explain
their worried facial expressions as maturing is scary.
The dark, empty setting in which the characters are in as they descend into the unknown, possibly connotes the way the characters will
be feeling in series 5. For whatever reason, some of them may feel ‘alone’ and ‘out of there depth’. This ‘signifies’ (De Saussure) that the
characters will be faced with tricky situations in the upcoming series.
The doll at the end of the trailer shattering ’signifies’ (De Saussure) that some of the characters will be placed in situations that may
destroy them. For example, as deception is a main theme in the show, one character might cheat on another.

Camerawork–
The technical code of a long shot used at the beginning of the trailer denotes one of the characters falling in slow motion (editing). Her
body is denoted as helpless, as if she cannot escape this ‘fall’ she is experiencing or stop it. This connotes that in series 5, the characters
cannot avoid their destiny, but instead they will have to face their fate no matter how terrifying it may be. The long shot also denotes
their nakedness, viewers of the trailer who have never seen the show before are therefore presented with the idea that these characters
are not scared of expression. They are teenagers, and like most teenagers ‘expose’ themselves by expressing their beliefs and emotions
openly.
Following this shot, close ups are used to denote the troubled facial expressions of the characters. It is denoted that some of the
characters are struggling, but others seem more calm. This provides viewers with an ‘enigma clue’ (Roland Barthes) of which characters
are more likely to face a struggle in series 5. Through the use of this technical code, those that have a “personal relationship” (Katz) with
any one of the featured characters, will be persuaded into tuning into series 5 so they can find out what the future holds for their
favorite character.
In addition, the camera tracks downwards connoting the gravity of the situation is increasing which therefore ‘signifies’ (De Saussure) a
‘disequilibrium’(Todorov). The series will contain a ‘weight’ of issues which is ‘signified’ (De Saussure) as the actors are at first slowly
descending but then all of a sudden their speed increases, connoting that their lives are crashing down at an alarming rate.

Trailer 6 - Hollyoaks Trailer
https://www.youtube.com/watch?v=az5EBwQdemw
The non diegetic incidental music has a repetitive harsh beat, almost mocking the sound of a countdown. The soundtrack is very similar
to what viewers would expect to hear on a show when a contestant embarks on a mission of some sort. Therefore, the incidental music
is effective in creating drama and excitement as the upcoming storylines unfold. As the incidental music has a harsh beat from the
outset, from the very beginning of the trailer it is ‘signified’ (De Saussure) that many ‘disequilibrium’s’ (Todorov) are about to be
presented. The choice of soundtrack works effectively with the dialogue in the clip. Its harshness almost symbolizes how the characters
are feeling. For example, the diegetic verbal code “You boys just dug up the rung corpse” said by the angry and agitated female denotes
that she plans to take revenge on them after what they have done to her. Her sinister outcry is powerful and creates uneasiness just like
the soundtrack.
The diegetic verbal code “I’m dying Theresa” creates a sense of shock in viewers as the fate of the character is revealed. This storyline is
likely to appeal to “caregivers” (Maslow) who will tune in to see how Theresa will deal with the upsetting news, but also how the male
character will deal with the prospect of death. Those that have a “personal relationship” (Katz) with either of these two characters are
also likely to tune in, as loyal fans will want to offer their support for a character they love.
The ambient sound of an ambulance siren connotes danger and that some sort of tragedy has just occurred. The scene then quickly cuts
(technical code) to a scene where one resident is being pulled out of a smoky house. The presence of the ambulance ‘signifies’ (De
Saussure) that a life is hanging in the balance or that someone has been seriously injured. This storyline would appeal to “survivors”
(Maslow) as they will want the security of knowing that the character will survive this blast and be okay.
The diegetic verbal code “If you want to put this baby up for adoption…it’s okay with me” provides a “window into the world” (Wendy
Helsby) of the issue of underage pregnancy within the zeitgeist. The coronation street trailer analyzed also explored this issue, thus it’s
evident that this is a typical storyline in many popular soap operas. The stereotypical target audience of soap operas is a ‘female’
(Hartley) demographic, so it may be that this issue is regularly explored as some ‘female’ (Hartley) viewers will be able to “personally
identify” (Katz) with being an underage mum.

Trailer 6 - Hollyoaks Trailer
https://www.youtube.com/watch?v=az5EBwQdemw
The non verbal code of the female prisoner smiling as she says the diegetic verbal code “I’m nearly done in here now.. I’m hoping to get
an early release” juxtaposes with the worried and unhappy facial expression of her visitor. This denotes a ‘disequilibrium’ (Todorov) as
clearly the female visitor does not want the woman to be released from jail. The fact we don’t know the reason for her lack of
enthusiasm, connotes that she may have something to hide and now the truth will be uncovered. This will entice many viewers and
create speculation as they start to think about the action that will potentially unfold, once the female prisoner is released from jail.
Various settings are used throughout the trailer. This connotes that havoc is breaking out all over the area and multiple characters are
facing dilemmas. Thus, providing clear evidence of a multi stranded narrative. Demonstrating that the soap utilizes a multi stranded
narrative means a larger demographic of people can be captured, as different people will be interested in different storylines.
At the end of the trailer, dark key lighting is used as what is denoted as a shooting is about to occur. The darkness connotes the
blackness one character may fall into if the blonde female behind the gun succeeds in pulling the trigger. It also connotes that the
futures of the characters in front of the gun are bleak; they cannot currently perceive any light as death is about to strike. The costumes
of the characters in this scene are important to consider. It’s denoted that they have just come from a wedding as they are still dressed
in their formal attire. Trouble or bloodshed on a wedding day is a typical storyline many soap operas “repeat” (Neale) year on year,
meaning it’s unlikely viewers will be immensely shocked by this particular storyline, as viewers who regularly watch soaps will know that
a happy ending is rare and very unlikely.
Camerawork–
The technical code of a close up denotes two of the male characters engaging in a kiss. Gay and lesbian relationships are becoming
more and more common in soap operas as bisexuality is becoming more accepted within modern day society. Soap operas such as
Hollyoaks therefore provide “a window into the world” (Wendy Helsby) of the types of relationships currently found within society.
According to Hartley, Hollyoaks would appeal to a range of people of different ‘sexualities’ through the exploration of heterosexual and
bisexual relationships. Lastly, a slow zoom and close up are used at the end of the trailer denoting that a bullet has been fired and it has
shattered a piece of glass. This ‘signifies’ (De Saussure) that one of the wedding guests has been shot by the female holding the gun. As
the trailer ends on such a dark note, viewers feel compelled to tune in, in order to see who the recipient of the bullet is.

Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength that you would ‘repeat’ (Steve Neale) and/or ‘exploit’
(Abercrombie -1995)
As my trailer is predominantly targeted at an ‘18-25’ (Hartley) year old demographic, I will use both the Skins and Hollyoaks trailers as my
two main sources of inspiration. Many examples of symbolism featured throughout the Skins trailer and I plan to “repeat” (Neale) this in
my own soap opera trailer. My trailer will feature many props that hold important connotations. For example as the main plot is murder, I
plan to have a scene where one of the suspects is wearing a red tie, as the colour red often connotes bloodshed or pain. The non diegetic
incidental music in this trailer was chosen carefully in order to create suspense and tension. I plan to ensure the soundtrack used in my
trailer is also effective in achieving the same purpose. However, the soundtrack I use is likely to be from a different genre as my main plot is
murder meaning, the music is likely to be more haunting than the soundtrack used for Skins.
Another aspect I will “repeat” (Neale) is the incorporation of a non diegetic voice over. I believe this is important to “inform” (Katz) viewers
about the name of the soap and its airing channel. This will be vital to achieve success as the soap I am producing is new and so viewers
will have very limited information on it.
Despite targeting a different audience to Eastenders, there were still many conventions in the Kat and Alfie trailer that I plan to “exploit”
(Abercrombie). My trailer will include some examples of diegetic sound. I believe this is important to show my ability of being able to
produce a successful, fit for purpose trailer with a variety of verbal codes. A range of camera shots were used in the Eastenders trailer
which were well suited for different purposes. I believe I can successfully ‘exploit’ close up and extreme close up shots to denote the guilty
and uneasy facial expressions of the suspects in my trailer. I will also be using a lot of shot reverse shots to denote the different facial
expressions of characters; capturing their emotions.

Evaluation of Textual Analysis –
Compare and Contrast
Trailer 2) – Areas that you would improve/change?
My trailer will feature a variety of different locations just like in the Hollyoaks trailer I previously analyzed. This is due to the fact that as I
need to show different suspects, it makes sense that realistically their locations would be different. I believe there were good examples of
symbolism in the Skins trailer however, in contrast I believe the examples in the second Coronation Street trailer were limited. Subtle
examples of symbolism are important to provide viewers with ‘enigma clues (Roland Barthes) of themes of the trailer. Another “difference”
(Neale) in my trailer will also be that I plan to use a variety of characters like in the Hollyoaks trailer, not just two like in the analyzed
Eastenders trailer. As the trailer is for the first episode of a new soap, it makes sense to introduce viewers to a variety of characters, so they
can begin to form “personal relationships” (Katz) with them. The theme of my trailer will also be drastically different to those I have
analyzed, as my main plot focuses on the death of a resident and who the killer is.

Independent Textual Analysis

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Independent Textual Analysis